Neptune – with Double Dong, Turkish Delight at The Middle East Cafe – Review

Neptune

with Double Dong, Turkish Delight at The Middle East Cafe
by Austin Nash

I missed the first few bands because the show started too early, or maybe I started too late, but that’s what’s required to fit six bands into an evening. It may just be that I’m getting older, but I think I’ll take this moment to inform the world that one must possess superhuman tolerance to endure even three bands in a row. My sincerest apologies to Veronica Black Morpheus Nipple, and Mighty Pine, whom I was informed by all had put forth quality and entertaining efforts.

Double Dong is an innovative vocal outfit that was a welcome alternative. I tip my hat to these guys for braving the beyond of unconventional curriculum and creating less of a diversion and more of an interest. It’s no secret that the human voice is the most spectacular of all instruments. A fine line exists between innovation and gimmick, the difference being that innovation is well done.

One can also appreciate the talents of Neptune, sporting an industrial edge with homemade instruments consisting of garbage, bicycle wheels, and saw blades, combined with their traditional stringed counterparts. Neptune provides a harsh and structured sound while maintaining quality melodies, and seemed to be troubled only by the difficulty of getting and keeping these instruments in tune, which subtracted from the overall production. I must admit that I don’t understand this lack of intonation. I can’t say if it’s intentional or an oversight.

At 12:37AM, Turkish Delight took the stage in support of their new release, entitled Tommy Bell (Castle von Buhler). Their set established an easily-accepted methodical rhythm using a phase-shifting mechanism to provide vertical movement and dimension. The chosen sounds transposed from washy, pretty feel (see My Bloody Valentine’s “Isn’t Anything”) to a more unnerving discordant sensation (see tuning a guitar) and served to keep the appreciative audience transfixed and in touch with the bands intentions. Front woman/singer Leah, to whom I was introduced before the show, was charming and pretty, and provided a presence that more than made up for the as-yet under-developed technical prowess which, as with any instrumental talent, comes with years of practice.